Automatico Studio

FROM THE ARCHIVE @espazium.ch

WHEN THE SPACE IN BETWEEN BECOMES THE STORY

Anatomy of WROP What the machine dreams when left alone In offset printing, the press is a translator — it takes what exists and reproduces it faithfully, infinitely, identically. WROP inverts this contract. Here, the press becomes the author. What you are looking at is not a representation of something else. It is the direct consequence of ink, pressure, chemistry and time negotiating with each other inside the machine — without a predetermined image to follow. The result is this: a landscape that was never designed, only allowed to happen. The surface reads like a section through living matter. Organic blobs cluster and drift, reminiscent of Turing’s reaction-diffusion patterns — the same mathematics that governs the spots of a leopard, the branching of coral, the distribution of pigment cells in embryonic skin. Gold granular fields scatter like colonies seen under a microscope. Deep teal pools settle at the lower register while the upper field burns in cadmium and vermillion, the two halves separated by a horizon that no one drew. The layering is geological. Each color is a stratum deposited at a different moment in the press run, interacting with what came before it, modifying what will come after. Ink does not simply sit on paper here — it negotiates, bleeds, resists, surrenders. This is printing as thermodynamic event. Each sheet pulled from the press is a unique state, unrepeatable, because the conditions that produced it — temperature, viscosity, roller pressure, ink sequence — will never be exactly the same again. The machine that industry uses to guarantee sameness is here used to guarantee difference. WROP does not reproduce images. It produces them. WROP: Demian Conrad at Museum für Gestaltung Zürich @museumgestaltung @zhdkcampus @demian.conrad

WROP — Water Random Offset Printing Selection of 4 works from the permanent presentation at Museum für Gestaltung Zürich, shown on the Nordwand at Toni-Areal 2026. This third post focuses on four of the twenty original works currently on view — a close look at how variation, pressure, water, ink and offset mechanics generate radically different visual atmospheres within the same experimental printing system. 01 A deep layered composition of electric blue, cyan, green and magenta, where horizontal bands are interrupted by subtle vertical streaks and scattered fluid traces. The print feels almost nocturnal — like a suspended landscape emerging through chemical interference and mechanical drift. 02 A more minimal and sharply defined piece, structured by luminous fields of red, pink, cyan and violet. The transitions are clean yet unstable, creating a calm but highly charged image, somewhere between a horizon, a screen error and a color field painting. 03 This work opens into a brighter register: saturated green and turquoise hover above a dense yellow ground, broken by soft abrasions and white interruptions. The print carries a lighter, almost open-air presence, where opacity and transparency continuously negotiate the surface. 04 The fourth piece unfolds in a warmer spectrum of orange, red, green and dark plum tones. More atmospheric and painterly, it reveals dense layers of offset texture, liquid deposits and tonal bleed, evoking heat, sediment and motion. Alongside the original 2013 offset works, a democratic mini edition has been produced in F4 format, digitally printed in inkjet on 150 gsm white-back paper, unsigned. The first three mini editions shown here (01, 02, 03) are available exclusively at the museum shop at Toni-Areal during the time of the exhibition. The fourth mini edition (04, the orange work) is available exclusively via the author’s shop: mianconrad.com/shop/ For art collectors, the original unique works from 2013 — produced in offset, 130 × 180 cm, on 150 gsm blue-back paper — are available only on request. Each original piece is unique, signed and numbered by Demian Conrad. For inquiries: [email protected]

Demian Conrad, founder of @automaticostudio , currently exhibits at @museumgestaltung Zürich. With WROP (Water Random Offset Printing), Swiss designer @demian.conrad explores the creative potential of traditional offset printing. Using a modified printing press and a controlled stream of water, he disrupts the standard reproduction process, producing posters that are visually related yet each entirely unique. Situated between design and art, craft and industrial production, the works reveal subtle gradients and textures generated through the interplay of control and chance—evoking both landscapes and the gestural language of abstract painting. The exhibition runs from 24 February – 10 May 2026 at the Nordwand in the entrance hall of the Toni-Areal. @zhdkcampus Photo @guillaumemusset #demianconrad #wrop #waterrandomoffsetprinting #museumfurgestaltung #zurichdesign graphicdesign swissdesign printmaking offsetprinting experimentalprint designresearch contemporaryprint designart abstractprinting artanddesign agi alliancegraphiqueinternationale zhdk zhdkcampus

Mini Site Web pour @gan_ne.ch Groupement architectes Neuchâtelois Merci à @fotografie.dirk.weiss et @dominikgehl pour leurs contributions. Creative coding @lucabunino

GaN — Nouvelle identité visuelle Le Groupement architectes Neuchâtelois se dote d’une nouvelle identité pour accompagner son évolution et insuffler une nouvelle dynamique à l’association. Le concept place l’humain au centre : l’acronyme GaN est conservé, mais le « a » d’architecture passe en minuscule — encadré et protégé par le G et le N. Une écriture néogrotesque organique dialogue avec un système graphique minimal noir & blanc, ponctué d’un jaune électrique inspiré de la molasse neuchâteloise. Entre patrimoine et contemporanéité, l’identité s’appuie sur la richesse architecturale du territoire — de l’Hôtel de Ville de Neuchâtel à la Villa Turque de Le Corbusier. @gan_ne.ch

@mitte_basel ☕️

☁️☁️☁️ . White on White F4 Poster for @mitte_basel . Designed by Demian Conrad and Dario Pianesi. . Screen Printed with 2 whites inks in Geneva with @duo_d.art . Typeface Univers LT . 👻 . We have few more in stock if interested DM us 📩

TRACÉS 11/2025 Dossier: 150 ans que ça dure Couverture: @automaticostudio

Automatico Studio a conçu la couverture du numéro spécial célébrant les 150 ans de TRACÉS, revue emblématique de la culture du bâti romande. Nous avons voulu créer une image qui parle à la fois de mémoire, d’évolution et de perception. Le point de départ : un 150 qui n’existe pas réellement. Le lecteur le reconstitue mentalement grâce à un jeu de contre-formes, inspiré par la théorie de la Gestalt et la psychologie de la forme. Le 1 et le 0 sont creusés pour accueillir des fragments du 5: un chiffre fantôme, visible uniquement par effet perceptif. Ce décalage volontaire fait écho à l’histoire de TRACÉS : une revue qui se réinvente depuis un siècle et demi, en oscillant entre rigueur, innovation et interprétation. Pour marquer cette édition historique, nous avons introduit une encre argent métallisé, un geste rare dans la tradition visuelle de TRACÉS. Ce choix dialogue avec la sobriété du noir et blanc tout en apportant une note festive, subtile, contemporaine. Cette couverture rend hommage au “less is more” cher au modernisme, tout en célébrant les métamorphoses du paysage architectural, éditorial et culturel qui traversent les pages du numéro. Un numéro-anniversaire qui raconte 150 ans d’évolution, et une couverture conçue comme une perception en mouvement. @frroschhh @revuetraces #SergeFruehauf @brunoarchi55 #danbadic @localarchitecture_ @fhvarchitects @office

Bataillard x mudac prix de design graphique suisse @dafikuhne @mudaclausanne #2025